Wiry and playful post-punk; classic songwriting and a great voice; a sparkling return to form, fifteen years in the making.
A thoroughly charming neo-soul debut; an electronic album by a Northern Irish DJ duo; a quietly beautiful record about grief and climate change.
I picked up some great releases by the Australian artists after working through Double J’s Best of 2021 list, including a couple of impressive debuts and an intriguing musical re-invention.
Excellent sophomore album about the dangers and costs of fame; beautiful meditation on grief and loss; the Queen of Electro Smut.
I caught up with one of the most critically acclaimed albums from 2020, plus something old and something new (and something blue) by one of my Aussie favourites.
I found that while I still had enthusiasm for reading new books and watching new films and TV series in lockdown, when it came to music my overwhelming mood was to shut down, listen to the music I already loved, and not make much effort to get into something new. I did however make an exception for a couple of my favourite ladies, both making interesting pivots from their previous work.
Lana Del Rey finally makes a great album; a catch up with the latest from my favourite otherworldly duo; a musical snapshot of the year 2020 according to Triple J.
Classy disco; inventive pop hybrid that mixes R&B with metal; electronic soul food.
Mark Lanegan – Phantom Radio & Gargoyle
Mark Lanegan might be my favourite male singer of all time, with a gravelly cigarettes-and-alcohol baritone that sounds so richly lived-in and is deceptively controlled and flexible. And he looks like his voice too – like a person who’s lived through some dark and troubled times. His pipes have become more brittle with years and these days Lanegan sounds less like he’s about to jump out of the speakers and punch you in the face, and his lower register on Gargoyle is almost Leonard Cohen-esque. But his grizzled vocals are no less compelling for that.
These latest two albums continue the experimentation with electronica and synths that first appeared on the 2012 Blues Funeral, while retaining the trademark dark bluesy vibes and oblique lyrics full of macabre gothic imagery and ruminations on sin, death, love and redemption. Business as usual in other words, but as long as his output remains this strong and consistent I’m not complaining. Now bring on the tour!